Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from the UAE and from Manchester.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Manchester.
I'm losing my edge to the art-school London kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the clarinet sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Ponytail to the techno kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Derrick May. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
The Misunderstood,
Gabor Szabo,
Ossler,
Camberwell Now,
Symarip,
Oneida,
China Crisis,
Susan Cadogan,
Jerry Gold Smith,
Kas Product,
Deutsch Amerikanische Freundschaft,
Panda Bear,
Pere Ubu,
The Moleskins,
The Electric Prunes,
Circle Jerks,
New York Dolls,
F. McDonald,
Andrew Hill,
Eric B and Rakim,
Magma,
Stereo Dub,
Sun City Girls,
James Chance & The Contortions,
Visionaries,LMNO, T- Love & Iriscience,
Scrapy,
The Saints,
The Angels of Light,
Can,
The Residents,
The Vogues,
Delon & Dalcan,
Groovy Waters,
Hasil Adkins,
Harmonia,
Bluetip,
The Red Krayola,
The Blues Magoos,
The Doors,
Scion,
Jeff Lynne,
Mark Hollis,
The Peanut Butter Conspiracy,
Lou Reed & John Cale,
Public Image Ltd.,
Babytalk,
The Fire Engines,
Piero Umiliani,
Sticky Fingaz feat. Raekwon,
Hot Snakes,
The Royal Family And The Poor,
Flash Fearless,
Marc Almond,
Procol Harum,
Swans,
B.T. Express,
DJ Sneak,
Junior Murvin,
Hoover,
Art Ensemble Of Chicago,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.